Sixth: A LIMITED ENGAGEMENT

A rotating eternity may seem atrocious to an observer, but it is quite acceptable to those who dwell there. Free from bad news and disease, they live forever as if each thing were happening for the first time; they have no memory of anything that happened before.(*)

The inspiration behind the 6th edition of The Nightclub stems from the limited nature of the event itself: it is on view for just one night, just for four hours. This nomadic and ephemeral experience is a curious cross between an event and an exhibition, one that certainly bets on the guarantee that something is bound to happen—but what and when?

A limited engagement includes a small selection of works that are meditations on time: each employing mechanisms such as duration, permutation, elasticity or repetition in the revealing (or denial) of a narrative. Here timing and sequence become accomplices in building and destroying the bridges that are essential to making sense of an experience that ranges from partial to non-existent. There is, admittedly, a bit of cautious romanticism in the latent potential to connect with these works. Yet in A limited engagement this potential may be more of an unrealistic hope; an expectation that comes face to face with a time/space that aims to denyall parties (artist, organizer, spectator) access and predictability as tools for producing and drawing meaning.

Screenings and presentations of works by Domingo Castillo, P. Scott Cunningham, Hermine Freed, Suwon Lee, and Richard Landry among others.

(*)Adolfo Bioy, Casares., and Ruth L. C. Simms. The Invention of Morel. New York: New York Review, 2003. 85.